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Happy Birthday 
New York City 

Ellen G. K. Rubin 
Scarsdale, NY 

New Yorkers have the reputation for having attitude, 
of being in your face. Only a city like New York could 
have produced a book like The New York pop-up book. A 
product of the non-profit organization New York City 
100, as part of their multimedia tribute to the city's 
centennial, this "pop-up for grown-ups" is a cornucopia 
of all that is superlative and unique about the Big Apple. 

To give you an idea of what makes this new book so 
exciting you must first imagine the size and format of the 
Van der Meer pack books, filled with pop-ups hidden in 
gate-folds, and booklets galore punctuate it with personal 
essays by Wendy Wasserstein, Tom Wolfe, E.L. 
Doctorow, and Nora Ephron, to name but a few literary 
luminaries, and then mix scholarly text about New York 
landmarks and attractions by the major museums of New 
York. Next, embellish all of that by having David 
Hawcock engineer 14 pop-ups, some from the works of 
famous living artists, such as Red Grooms and Al 
Hirschfeld. All of this is contained in 7 spreads! Times 
Square on New Year's Eve should be so tumultuous. 

Continued on page 2 

An Interview with Robert Sabuda, Part 2 

Barbara Valenta 
Staten Island, N.Y. 

In Part 2 of his interview, Sabuda discusses his 
working methods, his professional life, and his future 

BV-Do you work on more than one book at a time? 

RS-Always on several. 

BV-More than one pop-up? 

RS-Oh no. Usually one pop-up and one picture book 
alternating. When I submit the finished book I'm not 
really finished. 1 still need to look at the printers' proofs, 
go down to Equador for production. So while I'm doing 
that I'm illustrating a whole new book. When I go to 
Equador I go for one week, but I look at proofs and the 
jacket in New York. Then I also have to run this 
business, taxes, paper work. Preparing for a conference, 
book signings, it all adds up. 

BV-You're going 90 mph. How much time do you get to 
spend on art, on business and so on? 

RS-I guess about two thirds on the creative part. 

BV-Not bad. About one third on business and 

RS-What about my personal life? 

BV-I guess I forgot to put that i 


BV-Do you think about marketing? 

RS-I always think I should focus on what I do well and 
let others do what they do well. Sometimes I have an 
idea-like when we made pop-up bookmarks to give away 
free of charge to kids who couldn't afford my book-which 
some children can't. So I wanted to give them 
something, and I thought, how about a pop-up bookmark, 
which we did. I prefer that to book signings. 

Continued on page 6 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $20.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is February 15. 

Continued from page 1 

The New York pop-up (ISBN 0-7893-0374-3, retail 
$39.95) is jam-packed with ephemera (NYC newspaper 
facsimile and souvenir postcards) and esoterica (Irving 
Berlin's immigrant-ship manifest, for example). The 
architecture and artifacts which make New York New 
York are presented down to the roof-top water towers, a 
distinguishing characteristic of the low-rise skyline. The 
general approach of the book is to present New York as 
the starting point for America's immigrants. 

To make spending your money even easier, the 
royalties from the book benefit New York City 100's 
many programs in the public schools. In addition, 
arrangements have been made with the New York Public 
Library store for members to buy the book at a 10% 
discount. Just call 212-340-0839 and identify yourself as 
a Movable Book Society member. Proceeds from the 
NYPL store benefit the NYPL research library. It's hard 
to imagine more bang for your buck. 

In the interest of being a responsible critic, I have 
tried to envision what is missing from the book. While 
watching the New York Yankees sweep the Atlanta 
Braves in the World Series, it occurred to me. Wouldn't 
a pop-up of Yankee Stadium like the one of Fenway 
Park, have been grand or some nod to the Amazing Mets, 
the Knicks, or the Rangers? But this is being picayune. 
The New York pop-up book has something for everyone. 
I'll be making it my holiday gift for so many friends and 
family. It'll have you singing the chorus of "New York, 
New York," it's a helluva town. 

Lewis Carroll and the movable book 

Theo Gielen 
The Netherlands 

January 14, 1998 marked one hundred years since the 
death of Reverend Charles Lutwidge Dodgson, the man 
better known as Lewis Carroll, the author of the 
children's classics Alice in Wonderland and Through the 
looking glass. In commemoration of the centenary of his 
death lots of articles appeared in newspapers and 
magazines the whole year through, one of which caught 
our special attention. It was an article on "The library of 
Wonderland" describing and analysing the private library 
of over 3,000 titles collected by Mr. Dodgson during his 

In the section of the article speaking about the 
children's books in the Oxford Don's library, the author 
listed all kinds of books for children as present in the 
collection, amongst them "books with movable figures." 
Though we had read most of Carroll's books for children, 
his published diaries and letters, some ten biographies of 
him and lots of other studies about him and his books, we 
had never met before any special interest of his in 
movable books. Otherwise, it was not hard to believe he 
should have had such ones since Mr. Dodgson was a 
great friend of children (especially female) and it is 
known he used to use all kinds of- often self-invented - 
games and puzzles to draw the attention of children and 
to amuse them when they visited him or when he made 
trips with them. Storytelling was another way to amuse 
his child-friends and to keep them busy, and as a result 
of this his most famous book came into being. 

Continued on page 9 


SEPTEMBER 21 lo 23. 2000┬źNEW YORK CITY 

Thinking Editions 

Edward Hutchins Exhibits 

at Harvard University 

David Whittredge 
Cambridge, Massachusetts 

I doubt that one could invent a better title for an 
exhibition than Ed Hutchins' work. By what can be seen 
in his current 10-year retrospective at Harvard, Hutchins' 
creativity has not been restrained within a single narrow 
form or style and he has expanded the world of artists' 
books to include his own super-charged imagination. 

Most readers of Movable stationery are familiar with 
Ed's many activities and accomplishments in the world 
of book arts and so it was with delight that 1 discovered 
new treasures within this latest exhibit of 64 books. The 
exhibit is divided into four section, each beautifully 
arranged in its own large display case. 

The first case, entitled "Playing with Accordions," 
has some familiar pieces such as Do sit down, Dulce rey 
and River of stars, which use concertina folded pages in 
unique boxes such as a miniature chair, miniature guitar 
case, and a book with reverse concertina binding that 
gives a counterpoint to the flow of text pages. To quote 
from the artist's statement, "I try to match a unique point 
of view with an appropriate non-standard structure 
created out of non-traditional materials . . .", and so it is 
that we see excellent examples of that here. 

The next case is "Exploring Tunnel Books" and has 
the most contemporary book art that 1 can recall 
embodied in postcard tunnel books such as Arizona 
wildlife. New York City transit, and Travelog (a joint 
project with Steve Warren). The structures fragment, 

Do sit down 

and distill 


postcard images 

in neat 


dioramas which 

seem to perfectly 

represent our 

world of sonic 

speeds and short 

attention spans. 

"See the world in 

three seconds" 

they seem to proclaim. There are simple and yet 

powerful gems. 

Also in this case are the books Windows and A great 
lunch which are displayed in both fiat layout form and in 
various stages of assembly. The display provides insight 
to the clever and thoughtful work that goes into Ed's 
deceptively simple designs: simplicity resulting from 
endless hours of refining and redefining shape and 


In viewing Windows, 1994, which is a set of two 
miniature tunnel books (one a view in and the other a 
view out), 1 was struck by the simple cleverness of a 
visual phenomena that I had not seen before. In one, a 
miniature room is filled with cut-out furniture and 
flowers. The window at one end of the room is cris- 
crossed by thick mullions, dividing it into four panes. 
The mullions interrupt the view of the room and prevent 
one from focusing on the interior elements, involuntarily 
causing one to see the room with one eye or the other, but 
not both; the view quickly switching back and forth as 
being seen by one eye and then the other. The visual 
phenomena that results is that the harder you try to focus, 
the more the interior jumps around in an optical boogie 
woogie; the opposites of a still life which is what it first 
appears to be. It caught me in a cycle of desire and 
denial, which is hardly what 1 expected from such an 
innocent looking work. 

The third case is entitled "Transforming Pages." This 
group of books shows examples of how far Ed has 
transformed the concept of a book, from pages laden with 
stickers, stamps, and the shrapnel of arts and crafts 
counters, as in Tags, a book made of sales tags, to his 
creation Whatta pie, which the exhibition catalog 
describes as "a selection of pie-related legends, rumors, 
and quotes (which) are recorded on wedge-shaped pages 
that fan out, unfold, rotate, and flip over" and are all 
contained in a clear, wedge-shaped pie box. 

The fourth case, "Fascinating Folds," presents 
variants of the accordion books and flexigons. Mystery of 

the magic box is a 56-page book-box exhibition catalog, 
offset printed (which is a rarity for Ed; almost everything 
of his is either hand-stamped, Gocco printed, or printed 
in other non-traditional methods). This project highlights 
how much variety there is in Ed's output, from the 
commercial to the totally funky. Contained in this case is 
also a book titled Twisted, a tiny treatise on conform ity in 
which the pages are turned only by twisting, and here 
also is World peace, a circular book that serves up some 
of the barriers to world peace for us to contemplate. 

Tunnel O'Love 

The exhibition catalog is also a treat, being an 
elegantly designed and constructed flexigon book which 
contains several introductions to Ed's work, a short essay 
by Ed, and color postcards in a pocket in the back. 

As with all original art, Ed's work has 
autobiographical handprints all over it, from literal 
manifestations of pictures and text to metaphorical 
associations and romantic notions. The work carries 
numerous messages of hope, tolerance, friendship, and 
love, poetry, comedy, and even a T. V. miniseries (written 
by Ted Cronin): all the ingredients for the soap opera of 
life. And so I went through the exhibit time and time 
again with sustained interest. And time and again the 
works provided insights to humanity with playfulness, 
consummate skill, and intelligence. What a joy. 

This exhibition of artists' book multiples by Edward 
Hutchins was held at the Lammot du Pont Copeland 
Gallery, Harvard University, September 15 through 
November 10, 1999. Much of this work may be viewed 
on Ed's web site at 

Suzie Sez 

Questions and Answers 

A. In response to Theo Geilen question about The 
Schreiber Plastical Picture Book: I have a Schreiber 
Plastical Picture-book as you described in Movable 
stationery volume 7. The title seems to be Fairy tales. 
There is a picture of a young girl reading a book (looks 
like a pop-up book!) to dwarves or gnomes in the woods, 
a la Snow White. A crow is in a tree with a bandage 
wrapped around his head as one would for a toothache 
(!?). Numbers at the right bottom are JFS-0190. There 
are 4 stories, each with one fan-folded pop-up. There is 
no other information. 

Ellen Rubin 
Scarsdale, New York 

Q. I have a question regarding Aladdin and his magic 
lamp, Bancroft & Co. Ltd, London, 1960 by Artia 
Prague. Is there supposed to be a movable part on the 
illustration inside the back cover? One the copy I have, 
the pavillion pops out, but nothing else moves, and I am 
suspicious that something might be missing since in the 
other titles from this series there is a movable part in 
addition to the pop-up. Any information will be 

Joanne Page 

Rancho Palos Verdes, CA 

Q. While doing an inventory of my circus-themed 
movable books (for a scheduled pop-up exhibit next year 
at a children's museum here in the Phillippines), I 
noticed that the fifth spread, "The Circus" (pages 70 and 
7 1 ), of my copy of The Daily Express Children 's Annual 
No. 2 has two clowns swinging over a parallel bar 
instead of one. Those who have a copy of this book (circa 
1930) should be familiar with this innovative piece of 
paper engineering which makes use of "dowelling and 
tensioned thread." 

Michael Dawson's 1991 article on S. Louis Giraud 
shows a copy with only one swinging clown - and so does 
Yokoyama Tadashi's 1987 picture essay which features 
a 1931 Japanese edition of said book. The second clown 
is upside down (i.e., he is hanging by his feet where the 
"dowel loops" are located) versus the other one who is 
rightside-up and has its "loops" on its hands. 
Unlike the first clown who is smiling, the 
second one looks surprised (with his mouth 
open) and is hatless - which probably explains 
the fallen hat on the ground. He is likewise 
holding a drumstick in his right hand - perhaps 
to beat the bass drum situated below the third 
clown who is playing the panpipes. While I'm 

aware that the book's title page has an illustration of this 
said spread showing only one clown swinging (with the 
panpipes clown beating the bass drum), could my copy be 
an aberration - or even a "prank" (delightful, if I may say 
so) created by the previous owner of the book? Does 
anyone also have an edition with the two swinging 

Adie C. Pena 


Q. I run the online site devoted to children's space 
books from the 1880's to the present. Many of the books 
in the collection are pop-up or movable and I am trying 
to compile a list of the titles. If you have a pop-up, 
movable, or other novelty children's book related to 
space exploration, I would appreciate the information. 
I'll eventually be posting the list on my site for anyone 

I am also looking for a copy of Dan Dane: Pilot of the 
future and I believe it was published in England. 

Alexa Smith 
Roseville, Minnesota 

A. In response to Theo Gielen's request for information 
on the Album Mediterraneo pop-up books. (For what it's 
worth, the book I have has 1943 as the copyright year.) 
The volumes, as per the list on the back of the cover, are: 

I. Nello zoo 

II. Fiabe de Grimm 

III. Nel negozio e nella casa delle bambole 

IV. Bon viaggio 

V. Gesu Bambino 

VI. Not listed 

VII. Le lepri e i leprottini 

VIII. L'auto 

IX. La ferrovia 

X. I nostri soldati 

XI. Vinceremo 

XII. II circo 

XIII. Animali domestici 

XIV. Le awenture de Pinocchio 

The Italians apparently had more "riproduzione" titles 
since my Spanish editions (no copyright information 
whatsoever on these books) have this shorter list (8 
volumes vs. Mediterranea's 14) on the back covers: 

I. Buen Viaje 

II. En el Parque Zoologico 

III. Cuentos 

rv. Liebres y Liebreccillas 

V. Vida en el Campo 

VI. El Circo 

VII. La Casa de Munecas 

VIII. Mi Ferracarril 

Adie Pena 

Editor's note: 

Four of the Spanish titles were auctioned on 
Ebay in November 1999. The following images were 
used in the auction. 


iSpM^' "6Jiforiat"$^1ve -Album Relieve-^ 

i wmm 


Sabuda interview, continued from page 1 

A. In response to the August 1999 member question: I 
would also be willing to open my home in Boston to view 
by appointment my pop-up collection. 
Lin Sasman 
Boston, Massachussets 

A. In response to question about how to sell or trade 
duplicate or unwanted pop-ups, two people have lists 
available. (Both have primarily contemporary books.) 
Send self-addressed, stamped envelopes for copies of lists 
to : 

AI Levitt 

55 orchard St. 

Medfield, Massachusetts 02052 

Ann Montanaro 

12 Bruning Road 

East Brunswick, New Jersey 08816 

Q. The final spread in Elvis: Musical pop-up (Bonanza, 
1985) shows Elvis Presley performing on stage in Las 
Vegas in 1969. More than 20 famous people are seated 
at tables listening to him. Can you name them? The 
people include Frank Sinatra, Dean Martin, Liberace, 
Liza Minelli, and Sammy Davis, Jr. Is that Richard 

Ann Montanaro 

In the News 

Ellen Rubin's "Czech it out!" appeared in Book 
Source Monthly, volume 15, no.7, October 1999, pages 

BV-Because it takes less of your time and reaches more 

BV-How do you think about the relationship between 
your graphic and pop-up elements in your work? 

RS-I usually start to sketch in three dimensions. Making 
3-D sketches-even if it's rough. I don't make detailed 2- 
D drawings because I don't know if it could look like 


RS-So I always build a simple form and then refine, 
refine, refine it. The only thing I can think of is a story 
board for animation-where it starts as a rough pencil 
sketch and then you refine it. And when you're in the 
rough stage of the pop-up it's "Please just let it work" 
and not the details. 

BV- What are you looking for? 

RS-I'm looking for what the main action is going to be- 
which is dictated by the editorial content, like the 

gingerbread house in 
Cookie Count. 

BV-That's a very 
interesting house 
because most pop-up 
roofs constructed like 
that push upward when 
the page closes so the 
house has to be made 
small enough so that the 
roof doesn't extend 
above the page edge 
when the page closes. But you invented a whole new 
construct that allows you to put a very large house on the 
page. You found a way to have the roof pull down within 
the house when the page closes. You also put tabs on the 
front and back folds that slide along runners that pull 
these folds inward, not outward when the book closes. 
The whole thing was very new and innovative. Taking a 
common house construct and doing it in a whole new 
way so that the house could occupy a much larger volume 
on the open page. That's not easy to do. 

RS-That took so long. I just really want what I want. I'm 
sure I made that two dozen times. I'll only admit defeat 
after I've exhausted all my resources. 

BV-How about the pop-up in Kwanza of the man playing 
the trombone? 

RS-What is the main motion one would equate with 
playing the trombone? 

BV-So you think of the real life motion and then support 
it with paper engineering? 

RS-I usually don't think of what kind of mechanism I'm 
going to use. I think of what I want to have happening, 
a mouth opening, people dancing. I'm into movement, 
not just three dimensionality. I think viewers respond to 
movement when they can't figure out how it works. Like 
the snow globe in The Twelve days of Christmas. They 
can't figure out how it's done. 

BV-Yes. With the gingerbread house maybe one 
wouldn't know there's a problem to be solved much less 
be impressed with the solution (although I know people 
love the house!), but with the snow globe perhaps it's 
different in terms of the "figuring it out" factor. 

RS-Yes. Especially rotations are very intriguing. Like the 
candle in Christmas alphabet. People are amazed that 
pop-ups can rotate. And I find that magical too so that's 
why I design it that way. 

BV-And you sometimes put moving parts next to 
something stationary-setting it off visually. 

RS-Yes, so it appears to move more, like the swans in 
Twelve days of Christmas. Some move and some stay 
put. It's all an optical illusion. 

BV-Do you know from the beginning what medium 
you're going to use? 

RS-Yes. Pop-ups are very shape oriented so I think flat 
colors fit. Intricacy should be in the cutting. If illustration 
is very complex, registration can be off and ruin it. So I 
like to keep color simple and broad. 

BV-What do you think makes for a good book? 

RS-Good pop-ups and art work. It has to be exploring the 
medium of the book and have a reason for using pop-ups. 
The subject should be universal. One on divorce wouldn't 
be. Holidays are. Animals. A book where people are 
amazed by what they are seeing. That's the rule of 
thumb. But it doesn't always hold. There has to be a 
reason to pick it up. 

BV-Do you think there are markets for both adult and 

children's' pop-up books? 

RS-Yes, but I think the most successful are those that 
cross over-hence are universal. 

BV-How do you see the market for pop-ups in general 
and what are the future prospects? 

RS-Most publishers expect amazing books that are 
complex and will cost $20. Fewer $10 books. And 
publishers are putting more eggs in fewer baskets, 
investing in authors who have a proven track record in 
regard to sales-which puts pressure on very well known 

BV-If someone is new what would they have to offer to 
be successful? 

RS-To stand out with unique, impressive pop-ups. 

BV-What perspective does your involvement with 
production give you? 

RS-I'm really very hands on in all my projects because 
after Christmas alphabet I wanted to be more involved- 
to be sure about how mechanisms are secured, about 
paper stock. Color and so on. 

BV-What about paper stock? 

RS-I prefer un-coated paper. On coated paper ink can 
transfer to the opposite page. I also like the tactile feeling 
and brighter color of un-coated paper. But it's more 
expensive. I use Champion Carnival 80 lb. un-coated 
paper. Beautiful white and bright. It soaks up a lot more 
ink though. 1 also use brighter pink and flourescent 
yellow inks to give stronger color. The finished book will 
never be as bright as the original. 

BV-Do you think about glue points (the number of places 
things have to be glued) in regard to expense? 

RS-No. I will design as much as possible from one piece 
of paper folded over itself rather than lots of pieces glued 
together. I think it makes assembly easier. 

BV-Is there anything else you'd like to talk about? 

RS-Yes. I'm always questioned about overseas 
production in regard to low wages. Whenever I've been 
there everything has been very clean. The doors are open 
because the weather is so nice. It's like a Ford plant 
without the noise and the dirt. When people go home 

they are playing their Walkmans and driving home in 
cars. They seem like middle class people. So it's my 
impression that this is a good job and not an unpleasant 
one and that the people seem happy. About 75% of the 
workers are women and 25% men. Printing and die- 
cutting are done in Columbia and assembly is done in 
Equador (in the last two or three years). Some of the 
managers who used to be in Columbia have moved to 
Equador when assembly plants moved there. About 
10,000 books are assembled each week. So a run of 
50,000 would last five weeks and then they'd go on to a 
new job. 

The Y2. Days <>/ Christmas 

BV-How many books do you do a year? 

RS-About two-one pop-up and one picture book. 

BV-What are your current projects? 

RS-The movable Mother Goose for Simon and Schuster 
which is coming out soon. A Wizard of Oz for the year 
2000. And for 200 1 another Disney project. 

BV-Do you 
much research 
you books? 


RS-I use the 

picture file of the 
New York Public 
Library. Also I'm a 
good observer. 

BV-Is there a 
reason that you 
don't use pull tabs? 

RS-I don't use 

them because I 

think they tend to get broken easily. It's a natural urge to 

want to pull them farther and farther. 

BV-Can you tell us about one aspect of your work that is 
especially fulfilling? 

RS-When I was at Pratt we were told that we were to be 
problem solvers. So if I can be a problem solver, that's 
very satisfying. 

BV-Thanks so much for being so gracious in taking the 
time to do this interview. 

Pop-up books paper engineered by Robert Sabuda 

The 12 days of Christmas. Little Simon, 1996. 
ABC Disney. Disney Press, 1998. 
The Christmas alphabet. Orchard Books, 1994. 
Cookie count : a tasty pop-up. Little Simon, 1997. 
Help the animals of Africa. Reader's Digest, 1995. 
Help the animals of Asia. Reader's Digest, 1995. 
Help the animals of North America. Reader's Digest, 

Help the animals of South America. Reader's Digest, 

The knight's castle. Golden Books, 1994. 
A Kwanzaa celebration. By Nancy Williams. Little 

Simon, 1995. 
The movable Mother Goose. Little Simon, 1999. 
The mummy's tomb. Golden Books, 1994. 

Books illustrated by Robert Sabuda 

Arthur and the sword . Atheneum Books 1995. 

The Blizzard's robe. Atheneum Books 1999. 

Earth verses and water rhymes. By J. Patrick Lewis. 

Atheneum, 1991. 
Fire engine. Modern Pub., 1987. 
The fiddler's son. By Eugene Coco. Green Tiger Press, 

I hear America singing. By Walt Whitman. Philomel 

Books, 1991. 
The ibis and the egret. By Roy Owen. Putnam, 1993. 
The log of Christopher Columbus. Text selections by 

Steve Lowe. Putnam, 1992. 
Magic carpet. Modern Pub., 1987. 
Saint Valentine. Atheneum, 1992. 
A tree place. By Constance Levy. Putnam, 1993. 
Tugboat. Modern Pub., 1987. 
Tutankhamen's gift. Atheneum, 1994. 
Walden. By Henry David Thoreau, text selections by 

Steve Lowe. Putnam, 1990. 
The wishing well. By Eugene Coco. Green Tiger Press, 


Movable Books from the Collection 
of Margaret L. Class 

Book Club of California Club Rooms 
December 6, 1999 - January 17, 2000 

Monday 10 a.m. to 7 p.m. 
Tuesday - Friday, 10 a.m. to 5 p.m. 

Lewis Ctrroll, continued from page 2 

Alice in Wonderland, which was told to the little Alice 
Liddell and her two sisters during a boat trip on the river 
in the summer of 1862 was published in 1865. One could 
imagine that he could have used movable books for the 
amusement of his little girlfriends. 

In a matter of fact, we realized, Mr. Dodgson, 
born in 1832, lived his active life as a lover of children 
and with many contacts with them, and as a children's 
writer from the early 1 860's, in the first "Golden Age" of 
the movable books: from their beginnings in about I860 
til the end of the century. So wc now even wondered why 
we never before thought of the possibility and grew 
curious to find out how extensive his collection of 
movables had been. 

From other sources we knew the library - and the 
whole inventory of his bachelor's apartment in Christ 
Church College Oxford where he lived for almost 47 
years - had been auctioned in May, 1898, just a couple of 
months after his death. His two brothers Wilfred and 
Sleffington charged with control of the legacy, took on 
the task of clearing the apartment as soon as possible 
since the College needed it for another scholar. Since 
neither of the brothers nor his sisters showed too much 
interest in the inheritance, the brothers called in the help 
of the Oxford auction house of Mr. E.J. Brooks from 
Magdalen Street. Mr. Dodgson had seven unmarried 
sisters who lived at the "Chestnut" in Guildford, a house 
he had built for them after their mother's death. It was at 
"Chestnut" during his annual Christmas slay that Mr. 
Dodgson fell ill and died. 

As far as we know, the family only kept the very 
private thirteen volumes of his diaries. They apparently 
burned many notes, manuscripts, letters to him and, on 
special request of Mr. Dodgson, the drawings, 
photographs, and negatives of nude little girls. Mr. 
Dodgson himself legated to one ofhis friends most of his 

books on medicine. 

The happy side of this sad destiny ofhis library is that 
the books (and his other belongings) were cataloged for 
the auction and that a copy of the catalog - even with the 
results noted in handwriting - survived in the Dodgson 
family. By painstakingly studying this Catalog of the 
furniture, personal effects, and the interesting and 
valuable library of books: The property of the late Rev. 
C.L. Dodgson, M.A., Ch.Ch., Oxford, more widely known 
as "Lewis Carroll", the author of Alice in Wonderland 
and other publications (. . . ) which will be sold by 
auction by Mr. E.J. Brooks at the Holywell Music Room, 
Oxford on Tuesday, May 10"", and following days, we 
succeeded in tracing some movable titles. 

- as lot nr. 25 1 : Ellen, or the naughty girl reclaimed - a 
story exemplified in a series of figures. 1811, we 
recognize as one of the series of paper-doll books 
published by S. & J. Fuller, in "The Temple of Fancy," 
Rathbone Place, London. We know the small booklet 
with verses accompanied by nine aquatint cut-out figures, 
a loose head to be inserted in them and five hats mixing 
up with Ellen's outfits; the whole preserved in a slipcase. 
Since the book went through three editions in 1811 
alone, it appears to have been a bestseller of its day. 
Books from this series are heavily sought after today so 
we are curious to see which price it did in 1 898 (then an 
antiquarian book already!). But unfortunately the 
handwriting reads "to be sold," so the lot apparently had 
been sold out of hand before the auction! 

- in lot nr. 542 there is a Transformation pictures. Since 
further bibliographic dates fail we don't know for sure 
which book this is. We have the choice between 
Transformation pictures, London, Ernest Nister; New 
York, E.P. Dutton, n.d. (1892), a large quarto books 
"with movable pictures" that we have never had the 
opportunity to sec, so we don't know which kind of 
movable technique the book has. The title is listed in 
Montanaro's bibliography, page 3 1 8, but the reference to 
"Whitton, plates 60 A and B" doesn't appear to be a right 
one since Whitton pictures that other possibility: 
Transformation pictures and comical fixtures, London, 
Ernest Nister, New York, E.P. Dutton, n.d., (1895) and 
listed in Montanaro on the same page. This book has six 
movable illustrations of the dissolving type operated by 
levers by which an underlaying picture cut as a Venetian 
blind slides over the first one. This is a much smaller 
books (20 x 17.5 cm.) originally published with a dust 

Since many of the titles in the auctioneer's catalog 
have been shortened, we cannot conclude which book 
was in Carroll's library. At least both books were 
published in Mr. Dodgson's lifetime. 

The lot was sold for one pound six shillings in 1898, 
but it included another twelve children's books! 

And . . . that appeared to be all the movable books we 
could trace amongst the 963 lots to be auctioned. That 
does not mean there were no more of them since many of 
the 68 lots with children's books name just some two or 
three titles and the additional "and. . . others," up to ten 
or twelve. 

But our research didn't end here. We found there were 
three antiquarian booksellers who purchased 
considerable parts of the library at the auction. And they, 
in course of time, re-presented the books they bought, 
recataloging them in full. Since these catalogs reveal a 
large number of the "hidden" auctions items, we hoped 
to be able to find more movable books from Carroll's 
library there. 

The first catalog "to which is added by way of 
appendix a considerable number from the library of the 
late Rev. C.L. Dodgson ('Lewis Carroll')" as the cover 
reads, was the Catalogue of miscellaneous second-hand 
books, on sale by B.H. Blackwell from Broad Street, 
Oxford, catalogue no. LX1I, June 1898. Though the 
appendix consists of 350 numbers (nr. 951-1300) and 
lists all kinds of books, but mainly literature, there are no 
movable books. 

Also, the second one found: A catalogue of second- 
hand books and books reduced in price, consisting a.o. 
a "part l-B: Purchases from the library of the late Rev. 
C.L. Dodgson (many with his autograph)," offered by 
Messrs. James Parker and Co., Broad Street, Oxford, not 
dated but published in October 1898. It didn't include 
any movable books among its about 250 described 

Only in the third antiquarian bookseller's catalog, 
numbered "No.2" and dated 1898, listing some 500 
numbers and published by The Art and Antiques Agency, 
High Street, Oxford as Catalogue of a portion of the 
unique collection formed by the late 'Lewis Carroll ' (The 
Rev. C. Lutwidge Dodgson, M.A., student of Christ 
Church, Oxford) we were lucky enough to find again 
something we were looking for: 

- as number 38 in the catalog was offered Changing 
pictures, a book of transformation pictures; the colored 
plates, by means of a slip at the bottom of the pages, are 
altered into pictures totally different; 4lo, stiff picture 
back, bound and offered for ten shillings. Again there are 
here in theory two possibilities: Changing pictures with 
verses by CM. Lowe, London, Ernest Nister; New York, 
E.P. Dutton, n.d. (1910) but its year of publication 
immediately shows this cannot be the offered book. So 

we can conclude it must have been the other possibility 
Changing pictures: A book of transformation pictures 
London, Ernest Nister; New York, E.P. Dutton, n.d. 
(1893), indeed a quarto book (25 x 19.5 cm) with six 
colored illustrations with "dissolving pictures" composed 
of slats which slide away to reveal another picture when 
the lever is pulled at the bottom of the pages. The book 
has a certain fame since the upper cover shows three 
illustrations in so-called trompe l-oeil effect including 
one by Beatrix Potter (a rabbit at the door of its house 
looking at a basket of carrots and turnips). Happy with 
this find we nevertheless doubt if this really is a third 
movable book in Carrol 1' s 1 ibrary ; it is also th inkable that 
this more elaborate description of the book title proves to 
be the same book as the one described as Transformation 
pictures we found in the auction catalog of Mr. Books 
before. We are afraid we will never know. 

The only other title we might include, though it is a 
mere novelty book, not a movable, we found under 
number 309 of this third catalog: Speclropia, or 
surprising spectral illusions showing ghosts everywhere 
and of any colour, by J.H. Brown, 4to, boards, l A bound, 
1864" offered for five shillings. 

We know the book published by Griffith & Farran, 
London, 1864 and in the same year in New York by 
James G. Gregory. It is a quarto book (25 x 19.5 cm.) 
with 16 pages of handcolored illustrations basing its 
concept on the persistence of vision and the production 
of complimentary colors on the retina. The reader is 
directed in the book to focus on a specific dot in each 
plate for about twenty seconds; then turning the eye to a 
blank wall or ceiling, the same image of the original will 
appear, but in its complimentary color (the "ghost') and 
seem to float in mid air like magic. It was a popular 
optical novelty for children, running into at least six 
editions within two years; pictured in Quayle, The 
collector 's book of children s books, page 220 and 
reprinted (in reduced form) by Redstone Press, London 
in the I980's as part of their Paradox box with optical 
illusions, puzzling pictures and verbal diversions. 

Thus ends our reconstruction of the inclusion of 
movable books in the library of the author of Alice in 
Wonderland. With one paper -doll book, one or two 
movables, and one novelty book, not a very exciting 
collection, we can recapitulate the results of our 

The article that caused our searches was right when 
writing there were movable books in Carroll's library; it 
was only our own greediness to find a treasure that had 
been unknown until now, that causes the feelings of 
disappointment. Otherwise, studying the various catalogs 
was a fascinating experience, like a virtual walk through 


the rooms (the belongings were grouped in the catalog as 
they were found in the successive rooms of Carroll's 
apartment), and the library of the Victorian eccentric, 
Mr. Dodgson. 

Not satisfied with the results so far, we tried to answer 
the opposite question: when, apparently, Lewis Carroll 
didn't show much interest in the movable books of his 
times, what interest did the makers of movable books 
show in the works of Lewis Carroll? 

From his biographies we know how scrupulously Mr. 
Dodgson watched over the production of the many 
editions of his books during his lifetime; how extremely 
difficult he was for the illustrators of his works; how he 
prevented any edition with colored illustrations - or even 
with other illustrations other than those by John Tenniel 
- until he himself made a picture book out of Alice: The 
nursery Alice (1889) for which he asked Mr. Tenniel to 
color the original illustrations. So we didn't expect too 
much from movable or novelty Alices before Dodgson's 
death in 1898. And indeed, our documentation doesn't 
show any novelty, three-dimensional or movable editions 
from the nineteenth century. But when we review the 
first one hundred years after the first Alice edition of 
1865 we do find several desirable Alice books in our 

The first movable Alice we could trace was the Alice 
in Wonderland panorama: with movable pictures, 
London, Raphael Tuck & Son, n.d. (1910). The 
concertina folding four-leaf book, measuring 27x 30 cm., 
has a color picture of most of the characters on the front 
and a pocket to store the movable pictures when not in 
use, on the back. The leaves open to show four colored 
scenes with numbered slots to insert the accompanying 
fifteen cut-out figures. The illustrations are by A(da) L. 
Bowley. The cut-outs are slightly embossed and vary in 
height from 7 to 15 centimeters. Another title from this 
Tuck series is pictured in Haining, pages 86-89. 

In or before 1921 Simpkin, Marshall from Hamilton 
in Kent published an edition of Alice's adventures in 
Wonderland 'with illustrations after John Tenniel by Julia 
Greene and Helen Peters, and with cut-out pictures to 
build up your own Alice scenes. It is a very scarce item 
we still have never seen in its completeness. 

The 1930's brought another four interesting editions, 
starting in 1932 with Alice in Wonderland by Lewis 
Carroll, with "come to life"panorama, London, Raphael 
Tuck & Sons Ltd. in their Storyland Treasury series. It is 
a book with 1 52 thick paper pages and illustrations again 
by Ada L. Bowley, with a wonderful double-page, full- 
color pop-up in the center lifting in two layers above the 
picture background and showing most of the characters 

from Alice. 

Followed in 1934 by Adventures of Alice in 
Wonderland, Akron, Ohio, Saalfield Publishing 
Company, with illustrations by Sidney Sage. A minimal 
text inside the front and rear covers with a small 
sampling of the Alice story, is accompanied by six full 
color pages, one side printed only, showing partially pre- 
punched pictures to be pressed out and stand up by a 
stand on their backsides, to create six detailed pop-up 
scenes on the very pages. 

Another novelty, published by Collins in London most 
likely in 1938 is Alice in Wonderland. Open the book - 
see what bops up! Illustrated by R.M. Turvey, the 32- 
page book conceals within the front and back covers two 
shaped colored scenes which emerge above the top when 
the book is opened and sink down again (with a little 
nudging. . .) when the book is closed. A specimen of the 
new category of "bop-up books." 

Most probably from the end of the thirties, but maybe 
early forties the Alice in Wonderland flicker book was 
published by the United Anglo-American Book 
Company. It is a small oblong booklet with 32 single- 
sided pages and Disney-like not recorded illustrations. 
When the pages are flicked over quickly a moving 
picture effect is created, showing Alice getting smaller, 
going through a mouse hole and the meeting the Duchess 
who is holding the baby/pig. 

Next, chronologically, there was the 1942 book Tony 
Sarg's treasure book, New York, B.F. Jay, in which, 
besides more extensive movable versions of Rip Van 
Winkle and Treasure Island (both represented with 
shadow boxes in the front and back cover) there is also a 
movable version of Alice in Wonderland, showing Alice 
growing taller, the Mad Hatter tipping his hat, etc. 

And a year later, in 1943, appeared as a part of the 
"Magic Fairy Tales" series an Alice in Wonderland 
illustrated by Emma McKean: a rather big oblong book 
with six tab-operated plates that move from side to side 
and reveal new illustrations below. There are even two 
sets of text on the plates, only one of which is revealed 
with each tab position; kind of modern version of 
dissolving pictures. 

Julian Wehr did a wonderful interpretation. The 
animated picture book of Alice in Wonderland for 
Grosset and Dunlap, New York, 1945 (reprinted in 1947 
by The Pilot Press Ltd. in London). Showing four really 
beautiful full-page color plates with an astonishing 
number of movements as he is able to incorporate into 
one slide of the revolving tabs. One of Mr. Wehr's best 



In the fifties only brought Walt Disney's Alice in 
Wonderland punch-out book, published by Adprint, 
London, 1 95 1 (but strangely, the twelve pages of text 
stamped in the center five 1955). This folio book has six 
full-color, die-cut cardboard leaves with characters and 
backdrops from Disney's Alice to make up into four 
different scenes as stage settings. 

Our self-restriction to the first one hundred years of 
movable and novelty editions of Alice, shows as a gem 
the last one within the period: Alice in Wonderland 
showing already one its beautifully red-printed front 
cover how Alice falls into the rabbit hole - the hole 
effectively die-cut in the cover. We speak of the edition 
by Voitech Kubasta produced in 1960 by Artia Prague 
and published in 1961 in London by Bancroft & Co., Ltd. 
as a "Westminster Book" as part of what Michael 
Dawson calls the "Windowpane Series." Apart from the 
fourteen pages of illustrated text there are two double- 
page pop-ups on the front and rear endpapers, the last 
one with a beautiful King and Queen of Hearts amidst 
their army of playing card soldiers 

A conclusion of this exploration could be that the 
movable book makers started rather late with the 
transformation of this famous children's classic but then 
gave us eleven books within fifty years, with very 
different design and (movable) techniques. Not too bad 
after all. For a selection of movable and pop-up Alices 
from the last 35 years see Montanaro, pages 7-8 listing 
another eleven. But to our knowledge more have been 
published since KubaSta's and since the appearance of 
Ann's bibliography - including the other Carroll title 
Jabberwocky. A nice section to specialize in within any 

Catalogs Received 

Aleph-Bet Books. Catalogue 61. 218 Waters Edge, 
Valley Cottage, NY 10989. Phone: 914-268-7410. Fax: 
914-268-5942. Email: 

Ampersand Books. Winter Catalogue 1999. Ludford 

Mill. Ludlow, Shropshire Sy8 1PP UK. Phone: 01584 

877813. Fax: 01584 877519. 


Cattermole 20 th Century Children's Books. Here & Now 
Stories. 9880 Fairmount Road, Newbury, Ohio 44065. 
440-338-3253. Email: 

3 9088 01629 2898 

Elizabeth Moody. Children's Books. List 76. Box 327. 

Windham, Ct. 06280. Phone: 860-423-2156. 

Jo Ann Reisler, Ltd. Catalogue 49: A-G and Catalogue 
49: G-Z. 360 Glyndon St., NE, Vienna VA. Phone:703- 
938-2967. Fax: 703-938-9057. Email: 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. 
All titles include pop-ups unless otherwise identified. 

For my friend: A book of inspiration. Broadman & 
Holman Publishers. $3.99. 0-8054-0868-1. 
Also: For my daughter. 0-8054-0871-1 For my sister. 
0-8054-0869-x. For my mother. 0-8054-0870-3. 

/ don 't want to sleep tonight. By Deborah Norville. 
[One pop-up] Golden Books. $12.95. 0-307-10609-8. 

The math doctor. By Ron van der Meer and Bob 
Gardner. Abbeville Press. [With CD-ROM but 
otherwise like 77k? math pack.] 9-0760-4822-3. 

Running Wolf and the big scary beast. Reader's Digest 
Children's Books. $7.99. 1-57584-302-1. 

Note: shows Running Wolf and the big 
hairy beast with the same ISBN as Running Wolf and 
the big scary beast. 

Tubbytronic superdome pop-up. January, 2000. 
Scholastic. 0-4391-0603-6. $19.99.